(See page 597.)
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Between 1830 and 1840 piano virtuosity as regards mere technical
execution was at its height. Kalkbrenner, Herz, and other “finger
knights” created furore everywhere by their pyrotechnic feats. This was
the era of the “opera fantasia.” Let us be thankful that audiences
nowadays demand a different kind of musical pabulum. Thalberg (1812–71)
marks the highest attainment of this style. He was pre-eminent for his
finished execution and rich singing quality of tone. His scales,
octaves, arpeggios, trills, and every detail of technique were of
marvellous perfection. His style influenced a number of pianists, as for
example, Leopold de Meyer, Goria, Döhler, Willmers and Prudent.
Under Thalberg, Liszt, Tausig, Rubinstein, Paderewski, etc., piano
virtuosity has reached its apex. Mr. Ernst Pauer, the noted pianist and
editor of “Alte Clavier Musik,” justly observes: “With regard to
rapidity, force, ingenuity of combinations, and dazzling effect, it is
not too much to assert that the highest point has been gained, and that
with respect to _quantity_ of notes and effects our present players are
unrivalled; whether the _quality_ is as good as it formerly was may be
questioned.”
The world-wide influence of Chopin and Liszt on piano style is discussed
in special articles of this work.
In the time of Bach and Handel the organ was the foremost instrument as
the exponent of musical ideas even more than the pianoforte is during
the present century. To-day it has its own high place in the temple of
art, and counts among its devotees artists of great repute and dignity.
During the present century German organists have followed the school of
Sebastian Bach, of whom the most prominent are Rink, Johann Schneider,
Hesse, Fischer, Thiele, Haupt, Ritter, Becker, Merkel, Herzog, Faisst
and Rheinberger. August Haupt and Johann Schneider were remarkable
interpreters of Bach’s organ works. The former was also a rare teacher,
beloved and venerated by his American and German pupils. The most
important organ compositions of modern German masters are the difficult
and massive concert pieces of Thiele, and the noble sonatas, etc., of
Mendelssohn, Schumann, Ritter, Merkel and Rheinberger.
In solo violin playing Germany at first followed the lead of Italy.
Mention has been made of the most noted German violinists of the last
century. About the beginning of the present century Paris was the centre
of violin playing under Viotti, Rode, Kreutzer and Baillot. These
masters laid down the principles of violin playing as practised to-day.
They were followed by Alard, the modern French teacher, and the
so-called Belgian school of De Beriot, Vieuxtemps, Wieniawski and
others. As regards finish, brilliancy of style, and purity of tone these
Franco-Belgian masters have had a strong influence on Germany. In violin
playing Spohr is considered as the direct heir of Rode and Viotti. The
contemporaries of Spohr in Germany were Schuppanzigh, Mayseder, Maurer,
Molique, Lipinski and others, all of whom contributed to violin
literature. Spohr’s most distinguished pupil was Ferdinand David
(1810–73). He was eclectic and many-sided in his taste and knowledge. As
regards technique and style he set high value on the French masters of
the violin. He was the first to play Bach’s difficult violin solos in
public. Among his numerous pupils was the famous virtuoso, Wilhelmj, who
is unsurpassed for his wonderful tone and execution. Joachim also
benefited by David’s advice.
The violin school, of Vienna, founded by Joseph Boehm (1798–1876), has
had a wide influence in training virtuosos. Ernst, G. Helmesberger,
Ludwig Strauss, Joachim, J. Helmesberger, Auer and Neruda were trained
in this school. Pupils of Pixis at Prague were the renowned violinists
Kalliwoda and Ferdinand Laub (1832–74). The latter was a wonderful
quartet player, and stood in the front rank as a virtuoso.
Joseph Joachim (born 1831) is the most eminent of living violinists. He
has had the widest influence of any violin master as an interpreter of
the great masters. Perfect technique, a rich and full tone, purity and
elevation of style, and fidelity of interpretation are the leading
characteristics of Joachim as a violinist. It may be said of Joachim, as
of Liszt, that he not only interprets but _recreates_ the music of the
great masters. He is equally great as a quartet player and as a soloist.
Joachim’s compositions are chiefly for the violin. His style is grave
and earnest, and suggestive of Schumann. His most important work is the
“Hungarian Concerto,” which has noble characteristics.
The most noted masters of the violoncello are Bernhard Romberg
(1767–1841), Kummer (1797–1879), and his successor in the Dresden
orchestra, Grützmacher (born 1832), and the virtuoso composers, Popper,
Davidoff and De Swert.
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